Rosita: The Lady in Red

Written by

Rosita, by Spanish painter Ignacio Zuloaga (1870–1945), is one of the most eye-catching works in George Vanderbilt’s collection and represents his interest in Spanish art, which gained popularity in the last years of the 19th century.

Lounging on a divan draped with a mantón de manila (a flamenco dancer’s accessory), Rosita is wrapped in a white fringed shawl with a red floral flamenco skirt billowing out. She leans on her elbow and smiles, a huge red flower in her dark hair. Rosita is confident: a model at ease with being an object of beauty. So, how did this captivating woman come to stay permanently at Biltmore?

Spanish artist Ignacio Zuloaga, ca. 1925
Spanish artist Ignacio Zuloaga, ca. 1925

A celebrated artist

In 1913, Zuloaga, known as “The Great Basque,” was living in Paris where his reputation had grown since his first exhibition in 1890. He came from a family of artists and his great-grandfather was a contemporary of Goya, who Zuloaga cited as one of his major influences.

A rising star in the art world by the turn of the century, Zuloaga was known for his portraits, especially those of women with a great deal of personality. He also had a reputation for hosting memorable Parisian parties attended by artistic luminaries of the day, such as the famed conductor and cellist Pablo Casals.

“To draw another connection to Biltmore’s collection, we know that he was respected by John Singer Sargent, who actually wrote the introduction to a 1914 catalog of Zuloaga’s work on display in Boston,” says Meghan Forest, Biltmore’s Associate Curator.

Charles and John Kraushaar in their New York gallery. Photo courtesy of Kruashaar Galleries.
Charles and John Kraushaar in their New York gallery. Photo courtesy of Kruashaar Galleries.

Modern art, circa 1914

In January 1914, an American exhibition of Zuloaga’s paintings was held at the prestigious Kraushaar Galleries at 260 Fifth Avenue in New York. The show was reviewed in the February issue of Art and Decoration, a leading art journal of the time:

“Mr C W Kraushaar, following up on his success of last season, showed for two weeks eight pictures by Ignacio Zuloaga, the greatest realist of the very realistic Spanish school.”

The article goes on to say that “his Rosita, in the pattern of her shawl and of the couch on which she reclines, is masterly in painting.”

According to Meghan, recent research on their correspondence indicates that George Vanderbilt did in fact attend the exhibition. He wrote to Kraushaar in January 1914 offering to purchase the painting and requesting the frame in which it is displayed today inside Biltmore House.

Rosita finds a home at Biltmore

After George Vanderbilt’s death, Edith Vanderbilt paid for the painting and requested that it be sent to a museum rather than to Biltmore. In 1915, Rosita entered the collection of the National Museum (now the Smithsonian American Art Museum) on loan. There she stayed until 1924, when Cornelia Vanderbilt Cecil and her husband, the Honorable John Francis Amherst Cecil, visited to view the painting and requested its return to Biltmore. The painting arrived in December 1924, with Rosita taking her place as one of Biltmore’s most intriguing permanent residents.

While Rosita was not at Biltmore during George Vanderbilt’s lifetime, our records indicate that her first placement was the Second Floor Living Hall—a decision made by Cornelia and John Cecil. She was later displayed in the Billiard Room in the 1970s before taking up residence in the hallway outside of the Louis XV Suite in more recent years.

This animation shows Rosita’s difference in appearance before and after conservation treatment in 2023.

Conserving Rosita

In 2023, Biltmore’s in-house conservator, Nidia Navarro, completed the conservation treatment of Rosita’s ornate frame while the painting itself was sent to Ruth Barach Cox for conservation. The painting conservator worked to remove old, discolored varnish and overpainting that was added during past conservation treatments and restore the vibrant colors and brush strokes to their original splendor. Early photos of the painting and Cox’s inspection revealed that the original work featured body hair in the sitter’s armpit, a common practice around the world in the early 20th century. Cox’s treatment returned the painting to its original appearance. 

Be sure to look for the recently conserved Rosita painting on display in the hallway outside of the Louis XV Suite on your next visit to Biltmore House.

Edith Stuyvesant Vanderbilt: a very charming and accomplished girl

Written by

In honor of Edith Vanderbilt’s birthday on January 17, we’d like to share a glimpse into her childhood and young adult years before she married “the most eligible bachelor in the world.”

In April 1898, an article appeared in the New York Herald announcing the engagement of George Washington Vanderbilt to Edith Stuyvesant Dresser. Much attention was given at the time to George Vanderbilt’s family connections and the fact that he had long been considered one of the most eligible bachelors in American society. But what of his fiancée, Edith?

Other than basic facts about the identity of her parents and the marital status of her siblings, little more was said about Edith other than that she was “a very charming and accomplished girl.”

Childhood adventures

Edith was born in Newport, Rhode Island in 1873. She was the fourth child of Colonel and Mrs. George Warren Dresser, who was a descendant of the last Dutch governor of New York. The Dressers divided their time between Newport and their New York residence, and much of what we know about Edith’s childhood comes from an unpublished narrative written in 1943 by her younger sister Pauline.

According to Pauline, the Dresser children enjoyed a wide variety of pets—including Edith’s 19 turtles that lived in the backyard—and a wide variety of adventures such as roller skating in their dining room while it was being repaired for water damage.

Growing up in Newport

Both of Edith’s parents both passed away in 1883, but the children’s elderly maternal grandparents stepped in to raise the five siblings who ranged in age from six to nineteen. The young Dressers moved to their grandparents’ home in Newport, and a governess named Mademoiselle Marie Rambaud was added for the girls. Pauline’s memoirs mention how Mademoiselle Rambaud had the Dresser girls adhere to the following regime:

“Two hours’ exercise, rain or shine, and early bed hours… We were not allowed to get up until seven… half an hour for dressing, then, if we hurried sufficiently, a chance to run outdoors for a few minutes … before a hasty glass of milk and a roll, which preceded the hour of piano practice from 7:45 to 8:45. A quarter of an hour for family prayers in my grandmother’s room…then breakfast at nine in the dark dining room…, and lessons from 9:30 to 1:30 in winter, and 9:30 to 11:30 in summer. Lunch at 1:30, then another hours’ practice from 2 to 3 – walking every day from 3 to 5. Supper at 5:15 –… and bed at 6:15 in winter and summer, until I was fourteen years old: then only, was I allowed to dine with the family and go to bed at 8:00 P.M….

But life in Newport wasn’t all hard work, and Edith and her sisters were encouraged to enjoy outdoor pursuits such as horseback riding, carriage driving, and swimming. Summers were particularly lighthearted as the Dresser girls, accompanied by their governess and their pet collie Paddy, walked to the beach three times a week, returning in a public horse-driven bus. Apparently Paddy loved to swim so much that he would visit the beach on his own, jumping into a cab for the return trip home. The girls would look out to see what appeared to be an empty cab pull up to their house, and out would jump Paddy, leaving a laughing cab driver behind.

The Paris years

Following the death of their grandmother in 1892, Edith and her sisters spent some time traveling, returning to Newport for a few months before taking an apartment in Paris for the next several years.

In 1896 and 1897, the Dresser girls vacationed for the summer in the French town of Dinard. Still pet lovers as they had been from childhood, they acquired two dogs in France – “Mlle Follette,” who would “die for France,” standing on her hind legs then falling over as though felled by an enemy’s bullet, and Bluette, a bulldog. Time in Dinard was light-hearted and fun, with most of their friends in attendance. They “picnicked and swam and danced and enjoyed themselves hugely.”

After their last summer together in Dinard, Edith and her oldest sister Susan stayed in Paris while Natalie and Pauline Dresser returned to Newport for the first time in four years. It was a time of new beginnings for each of them as the Dresser sisters began to meet and fall in love with the gentlemen they would one day marry.

Edith Vanderbilt’s legacy

Without a doubt, Edith Vanderbilt’s childhood and young adulthood certainly molded her into much more than “a very charming and accomplished girl.” The development of her striking personality traits such as intelligence, sophistication, an outgoing nature, a love of adventure, the ability to relate to people of all backgrounds and cultures, resilience in the face of difficulty, and strong commitment to family make her a woman we continue to admire.

Pictured above, right: the Dresser girls with their grandmother (L-R: Natalie, Edith, Grandmother Susan Fish Le Roy, Pauline, Susan)

Pictured above, left: Dresser girls in Dinard, 1896 or 1897 (L-R: two servants, Edith, Mlle. Rambaud, Pauline, Susan, Natalie; Bluette the bulldog in  foreground & Mlle. Follette to the left of the bicycle)

George Vanderbilt and His Automobiles

Written by

Although Biltmore House was equipped with superb stables, the Vanderbilts did not rely solely on horses and carriages for transportation. Although horse-drawn carriages, ships, and trains were popular when George Vanderbilt was born in 1862, engineers and inventors were already experimenting with “horseless carriages” or automobiles.

It wasn’t until the early 1900s that the Vanderbilts and their friends began to experience the convenience and speed of driving. George Vanderbilt was particularly fond of automobiles and collected them over the years.

George (third from left) and Edith Vanderbilt (far left), friends, and chauffeur in Godesberg am Rhein, Germany, 1906.
George (third from left) and Edith Vanderbilt (far left), friends, and chauffeur in Godesberg am Rhein, Germany, 1906.

Road trips

Biltmore archives show that George Vanderbilt became an avid fan of automobiles during a visit to Europe in 1903 when his good friend William (“Willie”) Bradhurst Osgood Field offered George and Edith Vanderbilt the use of his car and driver. Vanderbilt wrote Field:

“I am so in love with this mode of travel that I mean to order an auto like yours when I get back to Paris, with the few improvements that have been made since. It makes travelling a different thing and simply a natural transition instead of an effort.

We have decided to remain over here all winter and hope to do some more automobiling next summer…”

(George Vanderbilt to William B. Osgood Field, William B. Osgood Field Papers, Manuscripts and Archives Division, Astor, Lenox and Tilden Foundations, New York Public Library, New York, New York.)

In a subsequent letter, Vanderbilt again comments on his affection toward automobiles, saying, “We are still enchanted with auto and indebted to you.” 

North Carolina driver's license for George W. Vanderbilt from 1913.
North Carolina driver’s license for George W. Vanderbilt from 1913.

His first car

We aren’t certain what kind of vehicle Mr. Vanderbilt purchased in Paris during this time, but photographs suggest the vehicle may have been made by Panhard et Levassor–the most popular maker of automobiles in France in the early 1900s.

As planned, the Vanderbilts remained in Europe for several more months. In 1904, George mentions a “delightful” three-week trip along the Spanish coast (notwithstanding a mechanical problem that delayed them for several days), several 2–3 day trips from their initial home base in Paris, a planned move to London allowing shorter road trips to visit cathedrals, and a six-week excursion throughout England, Scotland, and Wales.

While the Vanderbilts would continue to enjoy “automobiling” in Europe during their frequent trips, they would not purchase an auto in America until January 1907. Why the delay? Perhaps it was because most American roads were typically in poor condition compared to European roads.

But by the mid-1890s, Biltmore’s roads were nationally recognized as being of the quality needed throughout the country. In North Carolina, “Buncombe County…had accomplished more road improvements by 1914 than any other county in North Carolina,” and George Vanderbilt was given much of the credit.

George Vanderbilt's 1913 Stevens-Duryea Model C-Six, the only automobile remaining in the Biltmore collection.
George Vanderbilt’s 1913 Stevens-Duryea Model C-Six, the only automobile remaining in the Biltmore collection.

American automobiles

In 1907, George Vanderbilt ordered a Stoddard-Dayton car delivered to his home in Washington, D.C. In 1911, he purchased a 1912 six-cylinder, six-passenger Model Y Stevens-Duryea for $4,000. Within a year, he traded the 1912 Stevens-Duryea for a 1913 Stevens-Duryea Model C-Six, which arrived in May 1913.

Receipt for purchase of Stevens-Duryea car; sold to George Vanderbilt for $3096.90 in May, 1913.
Receipt for purchase of Stevens-Duryea car; sold to George Vanderbilt for $3096.90 in May, 1913.

The Stevens-Duryea C-Six is the only vehicle that George Vanderbilt purchased remaining in the Biltmore collection and is today an extremely rare model, believed to be one of only 10 still in existence. It has been carefully conserved but not restored and is in private storage. Intriguing details of this vehicle include Edith Vanderbilt’s monogram hand-painted on the doors and the old-fashioned kerosene lamps that provided backup for the car’s newfangled electric headlights!

Detail of parts and maintenance for Stevens-Duryea car.
Detail of parts and maintenance for Stevens-Duryea car.

Learn more about the Vanderbilts’ travels at The Vanderbilts at Home and Abroad exhibition inside The Biltmore Legacy building in Antler Hill Village, which offers a fascinating glimpse into the lives of George and Edith Vanderbilt and their daughter Cornelia.

Whistler and Vanderbilt: an artist and his patron

Written by

George Vanderbilt was a knowledgeable art collector, acquiring both the classics—like tapestries from the 1500s—and works from contemporary artists of his time such as Renoir. For portraits of his family, he turned to one of the leading artists of the era: James McNeill Whistler.

Best known today for the iconic portrait of his mother, Whistler (1834–1903) was an American-born artist who worked in Europe most of his life. No stranger to controversy, he was influenced by both the schools of realism and impressionism, later developing a unique symbolism in which the subjects of his paintings became less important than forms, colors, and mood.

While we don’t know exactly when Vanderbilt and Whistler met, we do know they had mutual friends and it’s likely Vanderbilt was familiar the artist’s work in London and Paris. By 1897, the two men were acquainted enough that Vanderbilt requested Whistler paint his portrait. In May 1897, Vanderbilt wrote:

“Yesterday when Sturges told me you were not in London I was greatly disappointed, both because I had looked forward to seeing you, venturing to hope for a Sunday afternoon visit to your studio, to make up for the visit I lost in March, and because I have a favor to ask of you. Is there a chance of your returning to London soon and if you do will you consider me a fit subject for a portrait? . . .

I cannot begin to tell you how much I want an example of your great work. I revel at present in possessing your etchings but want an oil too. Hoping you will consider this favorably believe me with deep esteem your admirer.”*

Whistler promptly agreed, stating:
“I think I may frankly say that I would not ask for a more sympathetic subject than yourself and therefore am greatly pleased at the prospect of painting your portrait.”

By the end of the year, the portrait was completed, with Whistler writing on December 30:
“My dear Vanderbilt, Now that the great work is complete and I fancy you and I who have been so much in it may in our present enthusiasm say ‘great work!’. . .

For my part I look upon this painting with real delight and am well pleased to be hereafter represented by it in my own country. And I am happy in believing that you too have in it complete enjoyment and satisfaction. You have been charming!”

The two men remained friends, with their correspondence showing Vanderbilt admiring Whistler’s art and opinions equally. He also continued collecting Whistler’s works, commissioning a portrait of Edith Vanderbilt in 1898 that was completed in 1902 and purchasing the artist’s self-portrait.

Over the years, Vanderbilt invited Whistler to Biltmore House repeatedly but Whistler never returned to the United States. When the artist died in July 1903, Vanderbilt was a pallbearer at the funeral.

Edith Vanderbilt Gerry gifted two Whistler works in the Biltmore collection to the National Gallery of Art after her death—George Washington Vanderbilt and Gold and Brown: Self-Portrait. Her oval portrait remains on display in the Tapestry Gallery.

*Vanderbilt to Whistler, London, England, May 18, 1897. Excerpted courtesy of Whistler Collection, Glasgow University Library.

Timeless Tradition Continues at Biltmore’s Employee Christmas Party

Written by

Although Christmas at Biltmore is our busiest season of the year, for one special night each November, Biltmore employees and their families gather to enjoy their own special Christmas evening amidst the twinkling lights and beautiful decorations adorning Biltmore House.

The impressive décor is admired by all, but the child inside many of us would likely wonder, “What good is a 35-foot Christmas tree without equally grand amounts of gifts?”

A family enjoys Christmas at BiltmoreHow our tradition began

When George Vanderbilt opened Biltmore House to his family and friends on Christmas Eve 1895, guests were greeted in the Banquet Hall by a splendidly tall tree laden with gifts for estate workers. Although the wrapped packages under today's Banquet Hall tree are decorative rather than full of surprises, that doesn’t mean Biltmore has ended the Vanderbilt gift-giving tradition. During our staff Christmas party, all children 11 and younger receive a present chosen especially for their age range.

Children looking up at Biltmore Christmas decorationsThe celebration continues

Archival information from 1898 shows that Edith Vanderbilt quickly assumed an active role in estate Christmas preparations as soon as she and George returned from their honeymoon in October of that year. She began making lists of all employees' children, their ages, and choosing special gifts for each of them—more than 100 children in all!

Today, Michaela Schmidlin, Entertainment and Event Programming Manager, oversees the process of choosing appropriate gifts for each age range. The toys are timeless, often requiring creativity rather than batteries to operate, and preference is given to North Carolina manufacturers.

“It’s really neat to me that this tradition has remained year after year. We’ve modernized it a little with Excel spreadsheets and such, but otherwise, it hasn't changed that much. We give more than 300 gifts each year, and though they are more contemporary than the presents children would have received in the early 1900s, they always reflect the Vanderbilt spirit of warmth and generosity,” Michaela said.

Biltmore employee Christmas party, 1916“A Vanderbilt Christmas”

Each year, the estate is decorated according to a special theme that celebrates George Vanderbilt's love of the holiday season.

“Not only did Mr. Vanderbilt provide very generous Christmas bonuses to employees, but can you imagine what this party meant to employees' children and families? Some people came from as far away as the Tennessee state line, and that was quite a trip—especially in horse and wagon days,” said Michaela.

This delightful tradition is just one of the ways Biltmore honors Mr. Vanderbilt’s legacy today, and we are delighted to keep history alive each year at the annual Christmas party.

Images
— Featured image: A Biltmore family enjoys the annual staff Christmas party
— First image: A family admires the Banquet Hall Christmas tree
— Second image: Children of all ages enjoy Christmas at Biltmore
— Third image: Biltmore employee Christmas party held at Antler Hall in 1916 (Edith Vanderbilt is right of center in a black hat; Cornelia Vanderbilt is on her left in a light-colored hat)  

Behind Biltmore Poinsettias

Written by

The Winter Garden is known as one of Biltmore’s premier displays of holiday greenery during Christmas at Biltmore. Throughout the years, this room has hosted countless musicians, carolers, and even ballerinas during the holidays, all surrounded by the beauty of red, pink, and white poinsettias. In fact, nearly 100 poinsettias adorn this room alone, with grand total of 1,200 poinsettias decorating the estate through the season.

Poinsettias grown on Biltmore Estate

From November 7 through January 11, the poinsettias are strategically placed, rotated, and replaced to provide the best color. However, many guests are surprised to find out just how complex these hearty plants are–and that for about half of these plants, their journey on the estate begins much earlier.

“Each February, my crew and I decide what poinsettias we would like to have for the next year's displays,” says Conservatory Gardener Jordana Chalnick. “Last year we had a red poinsettia with white splotches for the front display; this year we will use a pink variegated poinsettia.” Once the varietals are determined, the poinsettias are grown from rooted cuttings inside Biltmore production greenhouses starting in July.

What makes these plants unique is that they are a short-day photoperiod crop, meaning they naturally flower when the nights become longer than the days. Some varieties need to be covered with a black cloth, sheltering them from all light, to force them to bloom at the desired time. 

Biltmore employees in poinsettia greenhouse

Jordana explains that timing is key. “We grow two crops of poinsettias for two target dates: November 2 and December 1. A shorter finish week means the plant will color earlier. This would be a variety we select for early November. A longer finish week means it will color later, and these are the varieties we select for December 1.  Development is monitored to determine if we will need to cover them and if so, the plants are covered in the evening with a black cloth beginning in September for five to six weeks,” she says.

Although Biltmore does not have the space or staff to grow all of the poinsettias used during the holidays, the remaining plants come from two growers in North Carolina. From propagating the poinsettia cuttings, to monitoring their light exposure, to placing and replacing each plant around the estate, our horticulture team does an excellent job year after year–just one of their many jobs during Christmas at Biltmore!

 

 

Our Christmas tree-toppers top them all!

Written by

When George Vanderbilt’s grandson inherited Biltmore House in 1960, the immense home had been open to the public for three decades. Each year, Biltmore House was closed December–March because there were so few visitors during the winter.

A successful experiment

After repeated requests from guests to see his family home decked for the holidays, William A.V. Cecil decided to keep Biltmore open and see what happened. What began as a modest experiment with a few decorated trees has grown enormously through the years to become Biltmore’s grandest season. The estate now welcomes approximately 250,000 visitors each year during this time period!

The showpiece of Christmas at Biltmore is always the 35-foot fresh Fraser Fir tree that adorns the Banquet Hall. Once lighted and decorated, the big tree—grown especially for Biltmore at a family farm in Avery County—becomes a memorable part of the guest experience.

Grand tree-toppers

Adorning the top of such a grand tree, there must be an equally grand tree-topper. Each year, Biltmore’s floral team envisions and then creates a tree-topper in keeping with the Christmas theme, the size of the tree, and the immense scale of the Banquet Hall.

“If we used an ordinary tree-topper,” said Cathy Barnhardt, Biltmore’s Floral Displays Manager, “it would be completely lost in that enormous space!”

Each member of the Floral team is responsible for the design and execution of the decorative them in several areas in Biltmore House—usually one of the elegant rooms on the First Floor, plus another section on upper or lower floors—and the team member assigned to the Banquet Hall has a big job ahead of her!

In 2011, Floral Designer Susan Partain created a beautiful Renaissance-style angel to top the big tree. From her fluttering wings to the rich fabric layers of her robe, Susan’s angel looked delicate, but had to be sturdy enough to survive a ride on the swaying tip of the tree as it was raised into position in the Banquet Hall. The angel passed the test with “flying colors!”

Two years later, Simone Bush, Biltmore Floral Designer and Wedding Consultant, drew on the idea of families coming together at the holidays, and the wonderful, whimsical ways in which their joy might be expressed, to create a charming, light-hearted tree-topper beribboned like a jester’s staff, delighting everyone who saw it atop the towering tree.

A new creation

For 2014, the theme is a A Vanderbilt Christmas. According to Cathy, “This year’s tree topper is a three-dimensional gilded globe star that is about three feet tall. It reflects a traditional vintage theme with glitter, tinsel, and beading.”

Be sure to look for the tree-topper as we raise the Banquet Hall tree on Wednesday, November 5, on your next visit during Christmas at Biltmore or Candlelight Christmas Evenings!

Welcoming Edith Vanderbilt to her new home

Written by

Edith Stuyvesant Vanderbilt was just 25 years old when she arrived at Biltmore on October 1, 1898, following her marriage to George Washington Vanderbilt.

The couple, who wed in Paris, enjoyed a three-month honeymoon in Europe before traveling to Asheville where Edith caught her first glimpse of her new home.

Archival photograph of Biltmore Estate employees lining Approach Road to welcome the newlyweds.
Archival photograph of Biltmore Estate employees lining Approach Road to welcome the newlyweds.

The arrival of the newlyweds was celebrated all around Biltmore; employees and their families lined estate roads to greet the Vanderbilts. Festivities continued into the night with fireworks and music in front of Biltmore House. 

The Asheville Daily Citizen reported that estate employees gathered at the arch, “…representatives from the agricultural departments of the estate were massed, each group bearing a device typical of their labor.” Dairy workers wore white suits and led Jersey calves by their halters, while employees of the Biltmore Nursery tossed flowers as the couple passed by in a carriage.

Archival photograph of the floral arch constructed by estate employees to welcome home the newlyweds.
Archival photograph of the floral arch constructed by estate employees to welcome home the newlyweds.

It was a warm welcome as estate employees constructed this dramatic floral arch celebrating George and Edith Vanderbilt’s arrival at Biltmore on October 1, 1898, for the first time since their wedding.

First in Forestry: Carl Schenck and the Biltmore Forest School

Written by

A little bit of the past caught up with Biltmore last week when actors portraying George Vanderbilt, Frederick Law Olmsted, Gifford Pinchot and Carl Schenck were on property to film scenes for a documentary about Schenck, “First in Forestry: Carl Schenck and the Biltmore Forest School.” The film looks at the role that Schenck, Biltmore’s chief forester in the 1890s, and America’s first school of forestry, played in American conservation history.

As you can imagine, the production created chatter among our guests and in particular, Biltmore employees, who recognized Vanderbilt, Biltmore’s visionary founder. Actor Peter Van Rijssen easily looked the part, especially due to the moustache he grew for the role.

The Forest History Society and Bonesteel Films of Asheville are collaborating on the film. We think they did a fine job of casting the four pivotal roles. See for yourself:

Photo comparison between lookalike actors to Biltmore's historic founders

Click here to view the documentary trailer on YouTube!

Experience the thrill of The Hunt

Written by

We are honored to announce the release of our newest wine—The Hunt. Inspired by the celebration of feasts based on estate hunts, this wine is a robust, Bordeaux-style red blend of 40% Cabernet Sauvignon, 35% Cabernet Franc, and 25% Merlot, handcrafted using grapes from our growing partners in Sonoma County.

Winemaker's notes

According to winemaker Bernard Delille, The Hunt has been aged for about 18 months in French and American oak barrels. “The intensely dark, black cherry color shows its rich layers, while its nose expresses black cherry, blackberry, and raspberry, with notes of vanilla, oak, and chocolate,” said Bernard.
 
“We have worked hard to attain a nicely balanced wine with velvety, mouth-coating tannins that linger softly. The Hunt offers good aging potential. If you let it age, good—but if you can’t wait, The Hunt is delicious by the glass and pairs especially well with smoked meats and cheeses, short ribs, duck confit, venison, and other game meats.”

A label inspired by the past

The Hunt’s striking label was inspired by the strong lines and rich heritage of an extraordinary firearm in Biltmore’s original collection and features a photograph of the finely wrought engraving of a vintage Auguste Francotte shotgun crafted of walnut, steel, and silver.

Remarkable for its outstanding balance, finely hand-checkered stock, and detailed engraving, this double-barreled, double-trigger shotgun was made by the Belgian company Francotte & Cie, one of the world’s premier gun makers.

“Francotte’s sporting firearms were considered to be among the highest quality,” said Leslie Klingner, Biltmore’s Curator of Interpretation, “and would have been a first-rate choice for the Vanderbilts and their guests when shooting rabbits and quail.”

Architectural elements

The Hunt is also a nod to Biltmore’s legendary architect, Richard Morris Hunt, who worked closely with George Vanderbilt to create the iconic French Renaissance-style chateau, which would be his final masterpiece of creative design and technological innovation.

Join us in the celebration of The Hunt’s release. This outstanding wine is a perfect choice for those who appreciate luxury, adventure, and the best that Biltmore has to offer!

Purchase The Hunt on the estate during your next visit.